Bikini Atoll
Moratoria

Over a year after its release, it remains a mystery how the debut of Joe Gideon's Bikini Atoll went completely unnoticed, even by the ears of those who have arrogantly built their fiefdom on pure indie rock, disdainfully disregarding any other contemporary musical production.

It is not, therefore, unhealthy revisionism that drives the writer to return to the scene of the spectacular crime residing in Moratoria; rather, an amused yet innocent sense of mockery towards all those who, despite being up to date thanks to magazines and pseudo-specialized music webzines, let an album like this slip by, capable of astonishing with simple and absolutely non-transcendental weapons, characteristics, after all, traceable among the vast majority of works topping the above-mentioned thinkers' charts.

In case of doubts about the artists who have made a difference in the underworld of American rock during times of shortage of new rebellious geniuses worthy of columns upon columns, Joe Gideon would have provided volumes of material to investigate if only he had been more visible. Moratoria is an infinitely beautiful album to listen to, a report, or perfect summa of rock always teetering between the noise energy of Sonic Youth and the sparse but highly effective melodies in the Velvet Underground style, thus also passing through Television, Iggy Pop and, a major novelty in the mix, Canadian post-rock and even Texan from label mates Explosions in the Sky.

A band that, without denying their influences, finds a sensationally successful formula for an album that borders on perfection in every single track. Joe's vocals take us straight back in memory to the streets of Lou Reed's Transformer in New York, skillfully diving into the role of the new storyteller as in Black River Falls or the progressive Desolation Highway, a sensational song that does not shy away from being a new Heroin. The lineup also includes: derailing guitar, a loud and free-vibrating bass, drums that are certainly not minimal or merely peripheral, piano, and electronic effects courtesy of the female component of the band. Thus, there's something for everyone, between instrumental sessions and dreamy atmospheres, or high-class performances that Interpol and their ilk have easily envied. No need to continue with the accolades.

Latest news is that, in the company of a certain Steve Albini, Bikini Atoll has completed their new album, Liar's Exit, in London, scheduled for next spring. Booked.